Themes, Motifs & Symbols Themes Themes are the fundamental and often universal ideas explored in a literary

work . The Impossibility of Certainty What separates Hamlet from other revenge plays (and maybe from every play writte n before it) is that the action we expect to see, particularly from Hamlet himse lf, is continually postponed while Hamlet tries to obtain more certain knowledge about what he is doing. This play poses many questions that other plays would s imply take for granted. Can we have certain knowledge about ghosts? Is the ghost what it appears to be, or is it really a misleading fiend? Does the ghost have reliable knowledge about its own death, or is the ghost itself deluded? Moving t o more earthly matters: How can we know for certain the facts about a crime that has no witnesses? Can Hamlet know the state of Claudiuss soul by watching his be havior? If so, can he know the facts of what Claudius did by observing the state of his soul? Can Claudius (or the audience) know the state of Hamlets mind by ob serving his behavior and listening to his speech? Can we know whether our action s will have the consequences we want them to have? Can we know anything about th e afterlife? Many people have seen Hamlet as a play about indecisiveness, and thus about Haml ets failure to act appropriately. It might be more interesting to consider that t he play shows us how many uncertainties our lives are built upon, how many unkno wn quantities are taken for granted when people act or when they evaluate one an others actions. The Complexity of Action Directly related to the theme of certainty is the theme of action. How is it pos sible to take reasonable, effective, purposeful action? In Hamlet, the question of how to act is affected not only by rational considerations, such as the need for certainty, but also by emotional, ethical, and psychological factors. Hamlet himself appears to distrust the idea that its even possible to act in a controll ed, purposeful way. When he does act, he prefers to do it blindly, recklessly, a nd violently. The other characters obviously think much less about action in the a bstract than Hamlet does, and are therefore less troubled about the possibility of acting effectively. They simply act as they feel is appropriate. But in some sense they prove that Hamlet is right, because all of their actions miscarry. Cl audius possesses himself of queen and crown through bold action, but his conscie nce torments him, and he is beset by threats to his authority (and, of course, h e dies). Laertes resolves that nothing will distract him from acting out his rev enge, but he is easily influenced and manipulated into serving Claudiuss ends, an d his poisoned rapier is turned back upon himself. The Mystery of Death In the aftermath of his fathers murder, Hamlet is obsessed with the idea of death , and over the course of the play he considers death from a great many perspecti ves. He ponders both the spiritual aftermath of death, embodied in the ghost, an d the physical remainders of the dead, such as by Yoricks skull and the decaying corpses in the cemetery. Throughout, the idea of death is closely tied to the th emes of spirituality, truth, and uncertainty in that death may bring the answers to Hamlets deepest questions, ending once and for all the problem of trying to d etermine truth in an ambiguous world. And, since death is both the cause and the consequence of revenge, it is intimately tied to the theme of revenge and justi ceClaudiuss murder of King Hamlet initiates Hamlets quest for revenge, and Claudiuss death is the end of that quest. The question of his own death plagues Hamlet as well, as he repeatedly contempla tes whether or not suicide is a morally legitimate action in an unbearably painf ul world. Hamlets grief and misery is such that he frequently longs for death to end his suffering, but he fears that if he commits suicide, he will be consigned

to eternal suffering in hell because of the Christian religions prohibition of s uicide. In his famous To be or not to be soliloquy (III.i), Hamlet philosophically concludes that no one would choose to endure the pain of life if he or she were not afraid of what will come after death, and that it is this fear which causes complex moral considerations to interfere with the capacity for action. The Nation as a Diseased Body Everything is connected in Hamlet, including the welfare of the royal family and the health of the state as a whole. The plays early scenes explore the sense of anxiety and dread that surrounds the transfer of power from one ruler to the nex t. Throughout the play, characters draw explicit connections between the moral l egitimacy of a ruler and the health of the nation. Denmark is frequently describ ed as a physical body made ill by the moral corruption of Claudius and Gertrude, and many observers interpret the presence of the ghost as a supernatural omen i ndicating that [s]omething is rotten in the state of Denmark (I.iv.67). The dead K ing Hamlet is portrayed as a strong, forthright ruler under whose guard the stat e was in good health, while Claudius, a wicked politician, has corrupted and com promised Denmark to satisfy his own appetites. At the end of the play, the rise to power of the upright Fortinbras suggests that Denmark will be strengthened on ce again. Motifs Motifs are recurring structures, contrasts, and literary devices that can help t o develop and inform the texts major themes. Incest and Incestuous Desire The motif of incest runs throughout the play and is frequently alluded to by Ham let and the ghost, most obviously in conversations about Gertrude and Claudius, the former brother-in-law and sister-in-law who are now married. A subtle motif of incestuous desire can be found in the relationship of Laertes and Ophelia, as Laertes sometimes speaks to his sister in suggestively sexual terms and, at her funeral, leaps into her grave to hold her in his arms. However, the strongest o vertones of incestuous desire arise in the relationship of Hamlet and Gertrude, in Hamlets fixation on Gertrudes sex life with Claudius and his preoccupation with her in general. Misogyny Shattered by his mothers decision to marry Claudius so soon after her husbands dea th, Hamlet becomes cynical about women in general, showing a particular obsessio n with what he perceives to be a connection between female sexuality and moral c orruption. This motif of misogyny, or hatred of women, occurs sporadically throu ghout the play, but it is an important inhibiting factor in Hamlets relationships with Ophelia and Gertrude. He urges Ophelia to go to a nunnery rather than expe rience the corruptions of sexuality and exclaims of Gertrude, Frailty, thy name i s woman (I.ii.146). Ears and Hearing One facet of Hamlets exploration of the difficulty of attaining true knowledge is slipperiness of language. Words are used to communicate ideas, but they can als o be used to distort the truth, manipulate other people, and serve as tools in c orrupt quests for power. Claudius, the shrewd politician, is the most obvious ex ample of a man who manipulates words to enhance his own power. The sinister uses of words are represented by images of ears and hearing, from Claudiuss murder of the king by pouring poison into his ear to Hamlets claim to Horatio that I have w ords to speak in thine ear will make thee dumb (IV.vi.21). The poison poured in t he kings ear by Claudius is used by the ghost to symbolize the corrosive effect o f Claudiuss dishonesty on the health of Denmark. Declaring that the story that he was killed by a snake is a lie, he says that the whole ear of Denmark is Rankly ab used. . . . (I.v.3638). Symbols

Symbols are objects, characters, figures, and colors used to represent abstract ideas or concepts. Yoricks Skull In Hamlet, physical objects are rarely used to represent thematic ideas. One imp ortant exception is Yoricks skull, which Hamlet discovers in the graveyard in the first scene of Act V. As Hamlet speaks to the skull and about the skull of the kings former jester, he fixates on deaths inevitability and the disintegration of the body. He urges the skull to get you to my ladys chamber, and tell her, let her paint an inch thick, to this favor she must comeno one can avoid death (V.i.178179 ). He traces the skulls mouth and says, Here hung those lips that I have kissed I know not how oft, indicating his fascination with the physical consequences of de ath (V.i.174175). This latter idea is an important motif throughout the play, as Hamlet frequently makes comments referring to every human bodys eventual decay, n oting that Polonius will be eaten by worms, that even kings are eaten by worms, and that dust from the decayed body of Alexander the Great might be used to stop a hole in a beer barrel.